MS01.01.03 - Box 02 - Folder 23 - The Harmon Foundation, [undated], Part 1

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MS01.01.03.B02.F23.093
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MS01.01.03.B02.F23.093

Mr. Herring had training at Syracuse University and at the Fogg Museum. I never found him an easy man with whom to work, but I had great respect for his art integrity, and his effort to get art activities moving in the group of educational institutions with which he was primarily concerned, and who set standards that would meet top level requirements. I think he was a very important root of progress. At his age he will not be around too many more years, and I think it would be a wonderful thing if in these final years he could have the satisfaction of knowing that his leadership and building efforts were recognized, particularly in art circles. It is my hope that if additional recognitions are to be given out in this anniversary year, or if some special recognition could be given to Mr. Herring, that it would be a wonderful tribute in these last years to a very dedicated man who helped to promote art values at Howard that can grow not only for the benefit of Howard, but for the benefit of our capital city where such a high percentage of the population is now American of Negro descent, and where the increase of cultural values are so dreadfully important. Very sincerely yours, (Miss) Mary Beattie Brady Director

Seldom did one hear Brady speak words of praise for Herring. She talked of him being stubborn and self-directed, yet her letter to John Walker leaves no doubt in the reader's mind where she stood on matters of principal as she saw them. Throughout [strike: Brady's] her administration of the Foundation's program of Awards for excellence in the visual arts for Black artists, Brady managed to stay in touch with the vast majority of Black visual artists scattered around the nation. She was ^from the 1930 through^ constantly in touch with sculptor/ ceramicist William Artis in Chadron, Nebraska; Aaron Douglas in Nashville, Tennessee; ^Claude Clark and ^ Sargent Johnson in Oakland, California; James V. Herring in Washington, D.C. and Allan R. Crite in Boston, to mention only a few. [strike: Her wide] While her genuine interest in people came with little regard for race, creed or national origin, Brady [strike: especially] knew that she was helping to peace the Black artist in a position of advantage in matters of future concern. The Foundation's roster of Black artists listed 400 March 1, 1939.

Last edit over 1 year ago by shashathree
MS01.01.03.B02.F23.094
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MS01.01.03.B02.F23.094

Mr. Herring had training at Syracuse University and at the Fogg Museum. I never found him an easy man with whom to work with, but I had great respect for his art integrity, and his effort to get art activities moving in the group of educational institutions with which he was primarily concerned, and who set standards that would meet top level requirements. I think he was a very important root of progress.

At his age he will not be around too many more years, and I think it would be a wonderful thing if in these final years he could have the satisfaction of knowing that his leadership and building efforts were recognized, particularly in art circles...

...It is my hope that if additional recognitions are to be given out in this anniversary year, or if some special recognition could be given to Mr. Herring, that it would be a wonderful tribute in these last years to a very dedicated man who helped to promote art values at Howard that can grow not only for the benefit of Howard, but for the benefit of our capital city where such a high percentage of the population is now American of Negro descent, and where the increase of cultural values are so dreadfully important.

Very sincerely yours,

(Miss) Mary Beattie Brady 39 Director

Seldom did one hear Brady speak words of praise for Herring. She talked of him being stubborn and selfdirected, yet her letter to John Waeker leaves no doubt in the reader's mind where she stood on matters of principal as she saw them.

Throughout her administration of the Foundation's program of Awards for excellence, in the visual arts for Black artists, Brady managed to correspond with the vast majority of Black visual artists seattened(?) wound the nation. From the 1930 though(?) she was constantly in touch with sculptor/ ceramicist Wiliam Artis(?) in Chadron, Nebraska; Aaron Douglas in Nashville, Tennessee; Claude, Clark and Sargent Johnson in Oakland California, James V. Sterring(?) in Washingto, D.C. and Allan R. Crite(?) in Boston, to mention only a few. Genuine interest in people came without little(crossed out) regard for race, creed or national orgin, She knew that she was helping to place the Black artist in a position of advantage, in matters of future concern, The Foundation's rasker(?) of Black artists listed 400 March 1, 1939.

Last edit 8 months ago by fjalloh
MS01.01.03.B02.F23.095
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MS01.01.03.B02.F23.095

In 1934, in collaboration with the College Art Association, [strike: the] Brady [strike: Harmon] proposed that the Foundation assemble a traveling exhibition called "The Art of the Negro". The exhibition, consisting of thirty-five [strike: pieces] works by twenty-four artists. It traveled to major museums and colleges across the [strike: country] nation. It was the first time that visitors to an exhibition were asked to vote for their favorite work. [strike: This which] ^Their decision was used to help^ guide the jury in making award selections. Cooperating with the New York Public Library System, ^with the advice of Arthur A Schomberg^ the [strike: Harmon] Foundation mounted the works of Black artists for exhibitions throughout the city ^of New York.^ [strike: It] ^Brady^ played an active role in placing art exhibits in the New York theatre lobbies where Black plays were [strike:running] being staged. 40 Working with ^an organization called ^ the Adult Education Committee, [strike: the Foundation] Brady placed on view over 100 [strike: works of] examples of students work ^from ^ the Harlem Art Workshop. These works, mainly paintings ^ and prints ^, were exhibited at the 135th Street Branch of the New York Public Library where Arthur A. Schomberg curated the Department of Negro Literature History and Prints. Many Black artists had come to look upon Brady as a catalyst to promote more and better art education programs in Black institutions throughout the country. ^After the Harmon exhibit^, Black colleges and universities ^throughout the South^ began creating gallery spaces to display the works of [strike: Black] local artists. When space or money was limited, [strike: the Foundation] Brady provided photographs of outstanding artistic work by [strike: Blacks] old and modern masters for gallery exhibits. [strike: The Foundation also] More and more, Brady began to place greater emphasis on [strike: promoting] improved teacher training for art teachers, the encouragement of children's art exhibits and exploration of the study of art appreciation on both the elementary and secondary levels. Increased efforts were directed toward more exposure of African art and artists, with the Foundation arranging for exhibitions of works and preparation of slides for educational use.

Last edit over 1 year ago by shashathree
MS01.01.03.B02.F23.096
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MS01.01.03.B02.F23.096

Many Black activists had come to loade upon Brady as and a catalyst to promote more and better art education programs in Black institutions throughout the country. After the Harmon exhib Black colleges and universities throughout the South began creating gallery spaces to display the works of Black artists. When space or money was limited, Brady provided photogrpahs of outstanding artistic works by old and modern masters for gallery exhibits. More and more, Brady began to placed greater emphasis on improved teacher training for art teachers, the encouragement of children's art exhibits and exploration of the study of art appreciation on both the elementary and secondary levels. Increased efforts were directed toward more exposrue of African art and artists, with the Foundation arranging for exhbitions of works and preparation of slides for educational use. Brady took special interest in the work of Jacob Lawerence, Palmer Hayden and William JS Johnson. From Lawerence, she The Toussaint L'Ouverture Series in 1939. A 41 gouache/tempera painting on Genera She encouraged museum official at the Museum of Modern Art in New York and the Phillips Memorial Gallery (Phillips Collection in Washington) to purchase Lawerence's "Migration Series". The John Brown Series was placed at the Detroit Institute of Arts and Brady held on to "The Harriet Tubman Series" which she placed after at Hampton Insititute, now Hampton University. In 1967, Brady sent "The Toussaint L'Ouverture Series"

Last edit about 1 year ago by moniquesteel3
MS01.01.03.B02.F23.097
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MS01.01.03.B02.F23.097

to Fisk University on "indefinite loan" where is remained during [crossed out: the tenure of] this writer's tenure. Upon my departure from Fisk to join the faculty of art at the University of Maryland at College Park in 1977, Brady recalled "The Toussaint L'Ouverture Series'" And approximately 140 or more of the 300 or so works of art by Black American and contemporary African artists she had "given" to Fisk at the approval of the Foundation. She then assigned the works she recalled from Fisk to the [crossed out: Museum] [crossed out: Collaborative] Board for Homeland Ministries of the United Church of Christ in New York City to be used in [crossed out: (?)] A College Museum Collaborative Program for the six Black Colleges in the South under the jusridction of the American Missionary Association, [crossed out: at the] The idea of the American Missionary Association, the only continuing abolitionist organization of its kind in the nation, administering a program for "students of Negro origin" appealed to Brady. Her own interest in the Native Americans of Sitka, Alaske and the pioneering work that her brother [crossed out: did] engaged in at the Sheldon Jackson Jr. College [crossed out: in Sitka] there provided the picture [crossed out: she] Brady needed to ascertain the success of the museum Collaborative Program at the American Missionary Association. Brady took this action after retiring from the Foundation. [crossed out: However], But her [crossed out: association] contact with [crossed out: various] administrators of art programs at Fisk, [crossed out: remained] Talladega and Howard remained active even after her retirement. Brady's interest in art of William H. Johnson (?) important story in the history of [crossed out: contemporary] modern

Last edit over 1 year ago by nvirtue1
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